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Jesus is shown half-length, crowned with thorns and with a haggard face, parted lips, prominent cheekbones, and moist eyes raised in an attitude of submission to the divine will. His hair, beard, mous [+]
The dimensions, format, theme, support and pictorial style of these three works -The Crucifixion (P8211), Lamentation over the Dead Christ (Museo de Salamanca, CE 106) and The Resurrection (P8212)- al [+]
It is not known when or how these two paintings -Saint John the Baptist and Saint Juan de Ribera (P947)- came to be the property of Luisa Enríquez, but their common provenance has never been se [+]
In a single sequence, the painting shows the Archangel Gabriel’s greeting to Mary, his announce ment to her that she has been designated as the mother of the son of God, and her acceptance of the divi [+]
Morales here presents us with one of his most successful and heartwarming subjects, that of the Virgin and Child, although he also includes in this case the figure of the infant St John the Baptist, w [+]
Large-format versions of the Virgin holding the dead body of Christ, like those at Badajoz Cathedral and at the Real Academia de Bellas Artes de San Fernando, gave way in Morales’s oeuvre to smaller c [+]
It is extremely likely that these two panels, -The Adoration of the Magi and The Adoration of the Shepherds-, similar in format, measurements and style, belonged to the predella of the same altarpiece [+]
The Birth of the Virgin at the Museo del Prado, the only painting on this subject by the hand of Luis de Morales and a work that remained unpublished until 2003, and the two pieces at the Museum Schlo [+]
This is one of Morales’s most characteristic and best-known paintings, both because of its technical quality, its domestic format and its apparently tender and heartwarming subject, and also because i [+]
This work is an example of an exceptional iconography within the subject matter habitually dedicated to the Passion by the painter, and even within that of the European art of his time as a whole. Alt [+]
Large-format versions of the Virgin holding the dead body of Christ, like those at Badajoz Cathedral and at the Real Academia de Bellas Artes de San Fernando, gave way in Morales’s oeuvre to smaller c [+]
The Virgin Mary, turned slightly to the right, has her hands clasped in an imploring attitude, her gaze absent and her eyes flooded with tears. She wears a bluish-green robe, a violet tunic and a whit [+]
It is extremely likely that these two panels, -The Adoration of the Shepherds and The Adoration of the Magi-, similar in format, measurements and style, belonged to the predella of the same altarpiece [+]
These works (P944 and P7948) embody a more decorous variation of the breastfeeding Madonna, a reference to the succour afforded by the Virgin to all believers. Morales designed a composition which avo [+]
This panel formed part of an altar dedicated to St Anne at Badajoz Cathedral. Commissioned by the bishop at that time, Juan de Ribera (1532-1611), it shows the young Virgin Mary seated half-length aga [+]
These works (P7948 and P944) embody a more decorous variation of the breastfeeding Madonna, a reference to the succour afforded by the Virgin to all believers. Morales designed a composition which avo [+]
The most frequent image of Saint Stephen shows his stoning after his condemnation for blasphemy by the Sanhedrin in Jerusalem. The account given in the Acts of the Apostles reads: And they stoned Step [+]
In this picture in the Prado, Morales combines elements that allude to both moments, -the Presentation in the Temple and the Purification of the Virgin-, although it might appear at first that he incl [+]
